The way Fleisher talks about printed music and its implications as limiting our options is profound. His suggestions change everything about how one can phrase
this is what made the golden age players so special. The ability to do an entire lesson on a few bars... you dont get this type of teaching and depth very often and its sorely missed.
The three great teachers of the second half of the 20th century, at least in America, were Leon Fleisher, Claude Frank, and Leonard Shure: all of them pupils of Schnabel. Fifteen minutes on two measures? Too much time--only if your career comes ahead of the music. The music is inexhaustible.
@@MrKlemps if one truth can be discovered in two measures of music then it can be applied to every other work . The same is true for phrasing . In the old days it would not be uncommon to spend hours on just 8 bars to get the phrasing just right . unfortunately the art has been lost as music has become more of a business than an art. Good intonation and rhythm pass for genius .
and as such it prepares us for the entrance of that heart-stopping tutti! It now makes great sense! Thank you posthumously, Maestro! Your legacy moves on through Ben!
There's always so so much more than just what's in the score. That was an excerpt of an even longer lesson on just the first few measures of this masterpiece. They looked so straight forward at first, but there's so much information and so many possibilities there that it really helps to have the guidance of a master like Leon Fleischer on your team. Imagine the insight that he must have had for the rest of the piece. Incredible video. What a privilege.
I am a pianist in training and I am getting emotional, I can't believe this was recorded only a few short months before his death. I haven't heard much of him until this video, but I can see he is a very patient and amazing teacher. What a loss to the musical community. Rest in peace.
These videos with these masters is really priceless. How wonderful to share with all of us. Amazing to watch, and look inside the mind of those with all this life experience at the piano. Wow
Well ToneBase Piano, this was a love way make a tribute to Leon Fleisher with Beethoven 4th concerto. keep up the Good Work with these master classes Kind regards Worrell Robinson
So much mental process to produce such a brief passage musically. One would hope that as one grows at the keyboard that such mental effort becomes unnecessary as one's ear grows to lead the fingers naturally to make beautiful music.
would we be able to see anything from andras schiff with you guys? I love hearing him in interviews and thought he would be perfect to chat with on this channel. if you guys have contacts with him, it'd be an absolute pleasure to see!
Unfortunately in an actual concert hall, only a few people in the audience would be able to tell the difference or the performance is miked for recording...
They might not notice it, but it does make a difference that will make an unnoticed impression upon the audience. Numerous small changes lead to a larger shift in how the piece will be received, even by a casual audience.
Every master class I've ever seen has always boiled down to the master telling the student: "Play it like I play it." I wish a young Glenn Gould would respond by telling them to take a hike.
You first learn everything there is from the masters of prior generations, then distill your own insights. Believe it or not, even as brash a composer as Beethoven did that.
@@benjaminclegg7109 Not the way Fleisher taught. He begins with what the student has brought him, clearly respects it, and attempts to refine it, offering any number of possibilities.
@@Posark I don´t think so. It´s all about reproducing what the teacher said and that means playing as often as possible. Same situation in front of an orchestra: They should play insttead of listening to the conductor´s wisdoms. Keep it short is the keyword. But there are teachers and conductors who love to talk and this guy belongs to them.
@ anonymusum …hmmmm, with all due respect, judging from your comments. I don’t think you’ve ever been to a master class before. Or perhaps you have but not been a recipient of one with someone as notable as Fleisher, Barenboim, or Schiff. Further, judging from your comments, not sure if you KNOW the purpose of a master class. Or the difference between a master class and an orchestral rehearsal with a conductor.
Don’t agree with Mr Fleisher’s view of phrasing, slurs in music notation, rhythm is flexible and slurs the first note is always longer and louder than the second note. That gives the effect of sobbing and longing The staccato in the beginning chords ought to be longer and sung, not rhythmical. No one plays this concerto and it’s beginning than Claudio Arrau. He respects every slur of the piece
In slurs, first note always louder than the second? Whoever thinks that is definitely a mediocre and uninspired musician. Rhythm is not always flexible - though funnily enough Fleisher did exhibit flexibility in the way he treats the very first chord.
I totally agree with you donkgated! Arturo, Here’s one big difference between Leon Fleisher and you sir. I’ve heard of Leon Fleisher, I’ve heard of George Szell…funny thing is, I’ve never heard of you! I think a little humility and a little respect on your part for the man that actually played the work professionally would go a long way. He actually recorded the G major concerto with Szell. One of the most perfectionist conductors of the profession. I think Mr. Fleisher knows what he’s talking about a bit more than you do.
@@DamaruInochi That! Thank you. Disagreeing with Fleisher when it comes to the basics of Beethoven 4 is one's own loss. What can one say in response to that other than "I am sorry for you"?
@@donkgated8074 Exactly. While it's all right to disagree with anyone, including Leon Fleisher, there really aren't hard and fast rules like that when it comes to music. If all you can rely on is Quantz and Leopold Mozart to fashion your interpretation of a piece, you really should question your career path.
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The way Fleisher talks about printed music and its implications as limiting our options is profound. His suggestions change everything about how one can phrase
That is wisdom
Unbelievable how much musicianship there can be in such a short passage of notes.
this is what made the golden age players so special. The ability to do an entire lesson on a few bars... you dont get this type of teaching and depth very often and its sorely missed.
The three great teachers of the second half of the 20th century, at least in America, were Leon Fleisher, Claude Frank, and Leonard Shure: all of them pupils of Schnabel. Fifteen minutes on two measures? Too much time--only if your career comes ahead of the music. The music is inexhaustible.
@@MrKlemps if one truth can be discovered in two measures of music then it can be applied to every other work . The same is true for phrasing . In the old days it would not be uncommon to spend hours on just 8 bars to get the phrasing just right . unfortunately the art has been lost as music has become more of a business than an art. Good intonation and rhythm pass for genius .
and as such it prepares us for the entrance of that heart-stopping tutti! It now makes great sense! Thank you posthumously, Maestro! Your legacy moves on through Ben!
RIP Master Fleisher a great pianist, teacher and human being.
Did he pass away ? I thought he was still alive.
@@coralreef909 The damned vax must've took him out.
@@rafiqp8800 ...
There’s a lot more Music in his words than in millions of concert halls ❤
I am not even a pianist or a musician and I know that I can sit with this man a long as he can talk. And enjoy it.
There's always so so much more than just what's in the score. That was an excerpt of an even longer lesson on just the first few measures of this masterpiece. They looked so straight forward at first, but there's so much information and so many possibilities there that it really helps to have the guidance of a master like Leon Fleischer on your team. Imagine the insight that he must have had for the rest of the piece. Incredible video. What a privilege.
I am a pianist in training and I am getting emotional, I can't believe this was recorded only a few short months before his death. I haven't heard much of him until this video, but I can see he is a very patient and amazing teacher. What a loss to the musical community. Rest in peace.
I love Leon Fleischer. Unique, precious artist, brilliant teacher, and a purely wonderful human being. RIP maestro.
was für ein grossartiger Musiker Pianist Dirigent .. und Lehrer .. Leon Fleisher.
I could immerse myself in listening to this endlessly. My favourite piano concerto. And what a teacher....
These videos with these masters is really priceless. How wonderful to share with all of us. Amazing to watch, and look inside the mind of those with all this life experience at the piano. Wow
His artistry as a coach is as beautiful as the artistry of Beethoven as a composer. 🌹
It’s such a simple passage, and yet so diaphanously beautiful!
Well ToneBase Piano, this was a love way make a tribute to Leon Fleisher with Beethoven 4th concerto. keep up the Good Work with these master classes Kind regards Worrell Robinson
So much mental process to produce such a brief passage musically. One would hope that as one grows at the keyboard that such mental effort becomes unnecessary as one's ear grows to lead the fingers naturally to make beautiful music.
Profoundly moving and beautiful interaction. Thank you so much for sharing this. Cheers!
It helps when the pupil has such a sympathetic personality.
Wow, such an inspiration. Thanks for sharing!
Brilliant lesson on dynamics, thank you!
Love it. Get off the tip of the fingers and onto the pad of the fingers. And its comes to life just like that.
would we be able to see anything from andras schiff with you guys? I love hearing him in interviews and thought he would be perfect to chat with on this channel. if you guys have contacts with him, it'd be an absolute pleasure to see!
How great to watch this! Thank You!
Beautiful video in every respect. Thank you.
Fascinating!!!
The 1st movment of this concerto is like 60 pages long + cadenza. Leave it to pianists to spend almost 15 minutes on the first line.
Unfortunately in an actual concert hall, only a few people in the audience would be able to tell the difference or the performance is miked for recording...
They might not notice it, but it does make a difference that will make an unnoticed impression upon the audience. Numerous small changes lead to a larger shift in how the piece will be received, even by a casual audience.
Every master class I've ever seen has always boiled down to the master telling the student: "Play it like I play it." I wish a young Glenn Gould would respond by telling them to take a hike.
You first learn everything there is from the masters of prior generations, then distill your own insights. Believe it or not, even as brash a composer as Beethoven did that.
There is a reason the master is called a master, and the student a student.
@@benjaminclegg7109 Not the way Fleisher taught. He begins with what the student has brought him, clearly respects it, and attempts to refine it, offering any number of possibilities.
😇😇
To me this guy is talking way too much. You never should let a lesson become a monolog where playing is the exception.
Normally no, but in a master class where people are wanting to hear the teacher more than the student, it is a little different situation
@@Posark I don´t think so. It´s all about reproducing what the teacher said and that means playing as often as possible. Same situation in front of an orchestra: They should play insttead of listening to the conductor´s wisdoms. Keep it short is the keyword. But there are teachers and conductors who love to talk and this guy belongs to them.
@ anonymusum …hmmmm, with all due respect, judging from your comments. I don’t think you’ve ever been to a master class before.
Or perhaps you have but not been a recipient of one with someone as notable as Fleisher, Barenboim, or Schiff.
Further, judging from your comments, not sure if you KNOW the purpose of a master class.
Or the difference between a master class and an orchestral rehearsal with a conductor.
Don’t agree with Mr Fleisher’s view of phrasing, slurs in music notation, rhythm is flexible and slurs the first note is always longer and louder than the second note. That gives the effect of sobbing and longing
The staccato in the beginning chords ought to be longer and sung, not rhythmical. No one plays this concerto and it’s beginning than Claudio Arrau. He respects every slur of the piece
In slurs, first note always louder than the second? Whoever thinks that is definitely a mediocre and uninspired musician. Rhythm is not always flexible - though funnily enough Fleisher did exhibit flexibility in the way he treats the very first chord.
I totally agree with you donkgated!
Arturo, Here’s one big difference between Leon Fleisher and you sir.
I’ve heard of Leon Fleisher, I’ve heard of George Szell…funny thing is, I’ve never heard of you!
I think a little humility and a little respect on your part for the man that actually played the work professionally would go a long way.
He actually recorded the G major concerto with Szell. One of the most perfectionist conductors of the profession.
I think Mr. Fleisher knows what he’s talking about a bit more than you do.
@@DamaruInochi That! Thank you. Disagreeing with Fleisher when it comes to the basics of Beethoven 4 is one's own loss. What can one say in response to that other than "I am sorry for you"?
@@donkgated8074 Exactly. While it's all right to disagree with anyone, including Leon Fleisher, there really aren't hard and fast rules like that when it comes to music. If all you can rely on is Quantz and Leopold Mozart to fashion your interpretation of a piece, you really should question your career path.